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Second Violins

Ekaterina Romanova

In the orchestra since 2005

Ekaterina Romanova started learning to play the violin when she was 5 years old. While studying at the Suzuki lyceum in Barnaul, she took part in Zakhar Bron’s master classes along with competitions and concerts with orchestra (including a tour around Japan). In 2002, Ekaterina Romanova was accepted to the Barnaul music college (Y.Y. Gaikolov’s class); in 2004, she entered the Novosibirsk music college (M.A. Kuzina’s class). In 2006, she began her education at the Novosibirsk Glinka State Conservatory (M.A. Kuzina’s class). She obtained her master’s degree in 2012.

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Ekaterina Romanova is a laureate of various competitions, including the ones in Ukraine (2008), Czech Republic (2008), Italy/Austria (2009), and Russia (chamber ensemble competition in Ekaterinburg, 2010). In 2011, she founded the “el tango” music ensemble, which went on to become a laureate of the “Libertango” competition in Russia.

Since 2005, Ekaterina Romanova has been a member of the musicAeterna orchestra. She has taken part in all of the orchestra’s recordings to date.

WHO OR WHAT HAS BEEN YOUR BIGGEST INFLUENCE, BOTH AS A PERSON AND AS A MUSICIAN?
Since my very first days, I’ve been surrounded by the air of music and by people fully devoted to this beautiful art. My biggest influences are my mother (who is a cellist herself) and my teachers — particularly my first music teacher who opened the Suzuki lyceum in Barnaul. The lyceum is a prestigious school that uses the unique teaching methods of Sh. Suzuki, a Japanese violinist and teacher. My conservatory professor became my closest friend and mentor. When I was an untamed youth, she always supported me and helped me to implement even the craziest of my ideas, no matter how wild they seemed in my conservative surroundings.
WHAT INSPIRES YOU?
I draw my greatest inspiration from people. From different ones: friends and strangers, big and small, tough and easy-going, happy and sad. I’m teaching myself to see beauty in people.
WHAT DO YOU VALUE THE MOST IN WORKING WITH MUSICAETERNA?
I started working here when I was 18. Like many others, I was enchanted by Teodor’s personality, his ideas, his attitude to music, his love towards everyone, his patience and attentiveness to every musician in the ensemble. He felt like an older brother to us: he praised us, scolded us, helped us with our studies and sometimes bought plane tickets so that we could go to competitions or festivals. We gave presents to each other and made a point to celebrate every birthday, every holiday together. We watched movies and listened to music in each other’s company. We went home early in the morning and were back at the rehearsal at 11a.m. As a result, our ensemble now feels like a wonderful family where anger and envy have no place. Everyone here feels loved and needed.

musicAeterna orchestra events

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April 25, 19:00
Tashkent | Palace of International Forums «Uzbekistan»
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini
Symphonic fantasy after Dante, Op. 32 (1876)

Capriccio Italien
A fantasy for orchestra, Op. 45 (1880)

Romeo and Juliet
An overture-fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 27, 20:00
Dubai | Dubai Opera
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini,
Symphonic Fantasy after Dante, Op. 32 (1876)

Capriccio Italien
on folk tunes for orchestra, Op. 45 (1880)

Romeo and Juliet,
Overture-Fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 28, 20:00
Dubai | Dubai Opera
Richard Wagner: Ouvertures
Symphony concert

Richard Wagner (1813 – 1883)

Vorspiel to the opera Parsifal (1882)
Overture to the opera Tannhäuser (1843–1845)
Vorspiel und Liebestod from the opera Tristan und Isolde (1857–1859)
Vorspiel to the opera Lohengrin (1845–1848)
Overture to the opera Die Meistersinger von Nürnberg (1868)

musicAeterna Orchestra
Conductor Teodor Currentzis

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May 26, 20:00
St. Petersburg | State Academic Capella
Dvořák: Alexander Sladkovsky and musicAeterna

Antonín Dvořák (1841–1904)
Cello Concerto in B Minor, Op. 104, B. 191 (1894–1895)
Allegro
Adagio ma non troppo
Finale. Allegro moderato

Symphony No. 8 in G Major, Op. 88, B. 163 (1889)
Allegro con brio
Adagio
Allegretto grazioso — Molto Vivace
Allegro ma non troppo

The musicAeterna Orchestra
Soloist Alexey Zhilin
Conductor Alexander Sladkovsky

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June 1, 21:00
St. Petersburg | Hermitage Museum
The musicAeterna Orchestra and Choir. Ars Vivendi

Jean-Philippe Rameau (1683–1764)
The thunderstorm scene from Act II of the opera-ballet Platée ou Junon jalouse (1745)
Act IV, Scene 4: Entry of the muse Polyhymnia from the lyrical tragedy Abaris ou les Boreades (1763)
Tambourines I, II from the prologue to the lyrical tragedy Dardanus (1739)

Antonio Lotti (1667–1740)
Crucifixus a 8 voci from Credo in F Major (before 1717)

Antonio Vivaldi (1678–1741)
Concerto for Cello and Strings in C Minor, RV 401 (late 1720s)

  1. Allegro non molto
  2. Adagio
  3. Allegro ma non molto

The soloist Rabbani Aldangor

George Frideric Handel (1685–1759)
Ombra mai fu (There was never a shadow), aria of Xerxes from Act I of the opera Xerxes, HWV 40 (1738)
The soloist Andrey Nemzer, countertenor
Furie terribili! (Terrible Furies!), aria of Armida from Act I of the opera Rinaldo, HWV 7a (1711/1731)
The soloist Elizaveta Sveshnikova, soprano
Piangerò la sorte mia (I will mourn my fate), aria of Cleopatra from Act III of the opera Julius Caesar, HWV 17, (1724)
The soloist Elizaveta Sveshnikova, soprano
Venti, turbini (Winds, whirlwinds), aria of Rinaldo from Act I of the opera Rinaldo, HWV 7a (1711/1731)
The soloist Andrey Nemzer, countertenor

Johann Sebastian Bach (1685–1750)
Komm, Jesu, komm (Come, Jesus, come), motet for double choir in G minor, BWV 229 (before 1731–1732)
Lobet den Herrn, alle Heiden (Praise the Lord, all ye nations), motet for four-voice choir, dubbing instruments and basso continuo in C major, BWV 230 (n.d.)
Erbarme dich, mein Gott (Have mercy, my God), aria of the alto No. 39 (47) from the sacred oratorio St Matthew Passion, BWV 244 (1727–1729/1736)
Soloists:
Andrey Nemzer, countertenor
Vladislav Pesin, violin

George Frideric Handel
Lascia la spina, cogli la rosa (Leave the thorn, pluck the rose), aria of Pleasure from Act II of the oratorio The Triumph of Time and Disillusion, HWV 46a (1707)
Soloists:
Elizaveta Sveshnikova, soprano
Andrey Nemzer, countertenor

Jean-Philippe Rameau
Les Sauvages/Forêts paisibles (The Savages/Peaceful Forests) from Act IV of the opera-ballet The Gallant Indies, (1725/1736)

Duration: 60 minutes